We can talk about a trilogy: water, sea Idyll and coming out of the bathroom (subject of this study). In that order. This would be a sequence. The two teenagers venture into sea hand holding. In the next scene are, quietly, lying on the shore chatting while water and Sun bathe their bodies. And, finally, out of the sea.
During the time in which Sorolla undertaken this type of paint, (for many regarded as pagan for their lush sensuality, innocent images without the sense of blame for the Suppression of the Puritan America or even Catholic of Spain) early in the 20th century, the custom was that the children of labourers and fishermen banaran nudity, as evidenced by photographs of era and portraits of various artists. Up to four or five years the children bathed naked and from that age, girls were bathed in bata and the boys continued doing until adolescence, moment in which already put the short trousers. This it can be seen clearly in this same room (if we are contemplating this precious picture in the exhibition of Sorolla in Madrid) where it is located. On our backs, i.e. in front of it, it is another canvas where we can see some young people chatting lying on the shore while the waves pegboards and sunshine caressing their bodies. It’s romance at sea. She has the robe and he has nothing, except a hat covering his head.
Coming out of the bathroom it is therefore a genre painting, but it can also be considered as an ethnographic document. It is a nostalgic evocation of youth, it is an classical figure composition; and it is a very modern box with some abstract components. It is a complex work. Since history itself that counts. A beautiful young woman who just got out of the water is aided by a young fisherman.